I started my pottery career at Loughborough College of Art, followed by a year in London, at Goldsmiths on their Postgraduate course.  My career has taken me to many places after my studies including working in Nigeria as a VSO potter and some years later I also spent time out in South India as lead potter for a charitable trust establishing a small scale production pottery in Tamil Nadu. Inspiration for some of my work comes from the visual  journals I kept at those times with studies of nature and pots.

After returning from Nigeria I was fortunate to be made apprentice Potter to John Leach, at Muchelney Pottery with Nick Rees and Lizzie Leach where I spent 3 years contributing to the production range of wood-fired pottery. It was through making repeat wares during the day and my own work in the evening that I developed my skills.

Only by immersing myself in the techniques and style of British studio pottery’s founding father Bernard Leach, was I able to find my true voice as a potter

My recent pottery studio was established in 2015 in  Colyton, Devon .   I work in stoneware clay from Cornwall and France and some porcelain blends. I prefer to use minimally refined clay as it makes a better throwing and handling clay and creates a more interesting glaze response. The clay bodies I use are rich in iron, and responsible for the distinctive speckling that appears during firing. Due to the reduction firing the gas flame in the kiln pulls iron molecules through the glaze to the surface of the pot that result in the freckles .

I draw inspiration from a variety of sources and these include landscape and the natural world around me. I like the quiet and contemplative design processes involved in developing forms to work with and choosing intuitively which forms are ‘Me’ and which are not. Once the forms are discovered by trying shapes at the wheel my curiosity and interest is sparked and I can consider surface patina and colour. It is touch that is so important to Ceramics and the glazes surface – how texture is created by additions of coloured oxides and how a glaze may break on a rim or a throwing line depending on heat work from the kiln, this is the inspiration that prevails.

What interests me is the use of real pots in our lives that create calmness and finds ‘still centres’ in our day to day world.

I enjoy the  production of tableware which stretch the potential of domestic  ware and often play their  part in a table still-life, calm silhouettes of shape and surface grouped together.

I have discovered some forms that have more potential that I wish to explore so they are to become a series of simple shapes which have the potential to carry the different glazes I have developed over the past few years … its is a journey to evolve .

I like to sense the peacefulness in a group of empty bowls after the enjoyment of a meal. I think this is my perfect kind of quiet moment.

I like the exactness of making in repetition and the satisfaction of a thoughtfully produced board of forms – all with a shared memory of each other.

I delight in the spots of iron that appear during firing and freckle bowls like birds eggs.

Jug handles detail


I enjoy the clay process that concentrates my awareness at every stage and the small details of each and every pot that contain slight nuances in character every time.